Greg Curda
Forum Replies Created
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Thanks, Shane… I just needed to know if it was possible… just one more pitfall… I am amazed…
It’s not my call what they do or don’t do. There’s a lot of multi-format editing going on… long story… but final output is usually 25, so less chance…
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I’m trying to find out if someone could unknowingly create a problem by outputting to 23.98, or 23.99 instead of 23.976, or if the frame rates are infinitely variable. Or does the system default to the standard frame rate nearest that which is entered?
I’m trying to prevent problems that might occur from less experienced picture editors…
Is it possible to manipulate frame rates in this way?
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How does other audio material playback in QT?
Does the audio on ingest sound bad? And it sounds ok in VLC?
Perhaps the audio heads on the VTR have come out of alignment…
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Hi Ty and all,
I failed to post that we got all our REDs back from upgrade (I’ll have to check on the build) and the cable boys made some straight XLR to TA cables (no pad). We fed line level (+4) from a SD442 and the cam lined up fine, and program audio was acceptable on all 4 channels. Good enough for typical in-cam AVPs and the like. Sometimes, finishing a piece in FCP is unavoidable, but at least I have more confidence that the tracks will be acceptable without tons of guess work. This does not eliminate the need for a skilled production sound crew, but I feel a little better about the RED’s recording capability.
Naturally for any feature or TV work we still use double system, and run through Sound Post after picture lock.
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I have the Blue Snowball, and while I’m not 100% crazy about the sound, the convenience of a USB mic is fantastic. Naturally, you may have to treat the sound in some way once on the timeline. The Snowball requires a “angle of the dangle” thing to get the sound I want, but is is good (accidentally) for a quick ADR line or two. But you can’t beat the plug and record convenience, where absolute quality is not the issue.
Try the AT and see…may the Rode deserves a listen also….
G
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Hi Peter,
I have heard off-center dialogue in several cases, but used mainly as an effect, i.e. far left/right or surrounds, for off stage lines… I also find that many of the younger mixers have a desire to use more screen real estate for dialogue, but are unsure how to really make it work. The prod fx scenario seems a little harder, if married to this dialogue and not able to be split off. If dialogue is cut really tight and all prod fx split off, those fx could be panned, although some filling might be necessary to maintain panoramic balance. Getting around the M&E problem could be done by using a second dialogue predub for the panned material, without any reverb spill, yeah?
Or are you talking about just widening the image to include a certain percentage of L/R? I have heard that a few times, as well, and the only thing for me is seating placement. If I’m sitting on the left and hear dialogue from center and left, it’s a little disconcerting. I always expect it from the center, no matter where I am in the theater.
I’m all for anything that enhances the sound experience, and this could be one of those things, if we can do it without making it noticeable.
There is one case I can think of where the PFX were widened in the same fashion, and it did sound weird to me in the M&E. The PFX seemed way too wide, almost like a 3x mono across the front. But it wasn’t my show, so I refrained from comment.
How does it sound in the 2.0 downmix?
G
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The 302 is a steal at 1300, as are all SD products, in my opinion. If the line inputs of the cam actually pan out at +4, then you might consider the MixPre… limited flexibility (mic in only, +4 out only), but it can go totally unnoticed on your belt, and give you that great SD sound.
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Really? Hmmmm… I know XL1 and XL1a had that prob…Mic only on the XL2? Hmmm… I know there’s no mic/line switch, right? Someone told me once that the inputs were auto-sensing. I thought, wow, how advanced…hahaha!!
OK, Ty… thanks for the correction… Do you have any intel on XH-A1 inputs specifically? for my failing memory banks? hehe!!
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Additionally, unless Canon fixed this on the XH-A1, all XL style cams had line level inputs that were -11dB (consumer line level). If you were to put a +4 output (pro line level) into that, there would be distortion, no matter what your meters read, because, as Ty pointed out, you are overdriving the front end of the camera.
With a mixer, at least you can run a tone through the system to line up the camera. This wont help you in the above scenario, though. I have either used a variable pad (Shure makes them) with line level (-15dB), or mic level to the camera to avoid that problem.
You are still correct to monitor through the camera, because that’s your recorder, and that’s what is being recorded. Even with a mixer, if you are listening only to the mixer, you have no idea what is being layed down.
The high noise environment may have prevented you from hearing the subtle distortion in your track. If you’re going to do a lot more of this, I recommend HN-7506 from Remote Audio. These are aircraft-style “blockout” phones with Sony 7506 drivers in them. Originally designed for the NASCAR circuit, they would provide the isolation required to hear your track properly.
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Hi Richard,
What is the primary intention, production dialogue for film and TV, or music, or?
Do you need 4-8 channels of mixing and 4-8 channels of recording?
Will this be used in field conditions?
What other equipment will the mixer and recorder need to support?
Do you have post, or are you shipping the material to a post house?
If you have post, what systems do you use?
What’s your favorite color?
I know, a lot of questions, but the answers will help determine the options. Except the last question, of course. That’s only for fun, hehe!!
G